IGDA Perspectives Newsletter – Boardgames

I was published on the IGDA website on how boardgames help students learn game design. http://newsletter.igda.org/2013/11/30/hands-on/

Board games are crucial tools to educating new game developers and introducing them to the world of game design. I use board games to create a sense of empowerment among students, many of which have never created a digital asset more complex than a Word document. To most people, programming and modeling is scary. Glitter and cardstock are not. I provide a direct, hands-on experience, which allow students a sense of mastery without ever touching a computer. For those students in my class that already excel in coding, board games take their mind off “tech” issues and let them exercise their design muscles. Not only that, but we also play a variety of board games that we can break down from a mechanical perspective, then play that game with new or modified rules to test out the result of student changes. Very few digital games have that feedback loop.

Board games also reveal the heart and soul of game design. Games are not new. We have been playing them as far back as we have records of humanity. When I try to explain to a lay person the essence of game design the conversation usually starts out with the following questions. “Oh so you program? Oh you don’t? You make the art then?” Even though many people consume media and play games every day, many have no idea how we create games. Students entering the field also have this notion until they begin to break down board games and develop their own.

Board games allow students to iterate concepts and gameplay without a heavy pipeline. Nearly every successful game has a post-mortem item about their decision to prototype their game in pre-production. Armed with only some paper and pen, educators can watch how quickly student projects evolve because students don’t have to tackle technological hurdles. Part of any decent game development process requires user feedback. Board games allow students to present their game to parents and children to get feedback from a much wider audience. It also creates a tangible deliverable that family members can understand or even pull out during family events. “Do you want to play the board game Jessica designed at school?” Nearly every person alive has played a card game or a board game. Giving students the power to create, instead of consume, allows them to look at the act of play in a new way.

Not only that, but board games allow students to make multiplayer experiences. Digitally, this is an extraordinarily difficult task, even if students are creating console-style games that accept multiple inputs without network programming. Designing with multiplayer gives students the capacity to understand the effects of rules on people and how those mechanics create different experiences for different players.

Finally, many games have a social mechanic either explicitly or implicitly. I utilize those types of games as class examples not only to educate students on gameplay components, but I also use board games to bring us together in a shared experience. This shared experience gives students an opportunity to develop critical social bonds with other students with an interest in game development as a career. No online course can do this. And while playing board games at the local card shop is worthwhile, playing games with game development peers is the first form of networking that students have. We can do a lot inside the classroom, but ultimately students often make their own success. Our mission is to enable that success. What better way to do that than to show them ways to connect with other students and encourage them to create new games? Give them the opportunity to forge long lasting friendships with their peers as they enter the game industry.

Sidescroller Level Design

2D Sidescroller Level Design

2D Sidescroller Level Design

Creating a fun, well balanced level takes an immense amount of effort and multiple aspects of game design need to be in place before a single level is created. We aren’t going to go over all the planning (for instance, how to create a Game Design Document or an enemy flow chart) but what we are going to look at in this article is all the information that goes directly into a single level. That way we can take all that information and create a compelling level and take that from start to finish.

For simplicities sake, we’re going to assume that we are creating a side-scrolling action/platforming/puzzler game.

Defining Gameplay Components: Every game is different, but most games should have at least two or three different aspects of gameplay. For instance in a sidescrolling game like Iron Man 2 DS we have Combat, Platforming, and Puzzles. Typically a lead designer provides what elements are going to be in a game but if you are working alone, this is a crucial step before designing a level. Each component has specific requirements that make these sections unique and sometimes these are engine requirements.

Some considerations for different components include interactive objects, moving platforms, the size of a room, and what kind of graphical fidelity you can have in the background. High poly backgrounds that have multiple shaders might be good for platforming areas, but if you combine a combat scenario in the same space there could be significant performance issues.

For instance in X-Men Origins: Wolverine, I had to plan ahead to create combat rooms that had adequate doors in the background so I could spawn enemies from behind. If I had put all of my combat encounters inside cavernous rooms, it would have changed my flexibility for spawning in enemies. So lets create a table

Gameplay Component: Combat Arenas

Required Elements: All combat arenas need small arenas to take advantage of player wall jump abilities and limit the AI playspace. Each room should have some sort of obstacle that requires a platforming maneuver (ducking, jumping, hiding from enemy weapons, etc…)

Optional (preferred) Elements: Each room should have multiple entrances somewhere on the back wall. Adding multiple breakable objects will also lead to more visceral gameplay. Optional elements include dangerous fans, grates that occasionally spit fire, and other hazards.

Barred Elements: Combat Arenas are processor intensive scenarios. All effort should go to limiting the amount of non-gameplay related artwork, lighting, and processor intensive effects. Arenas can not have large foreground obstructions, complex platforming that would stop the enemy AI from maneuvering properly, or physics based hazards.

From here we have a basic ruleset for how to create levels.

Define your Building Blocks: Every device and game has a different feel to it and making a game that feels well designed starts long before you begin designing levels. There are a lot of essential information that includes, but is not limited to

  • What is the camera’s viewable area on specific devices / resolutions?
  • How tall is the character? How high are they when they crouch? How thick are they?
  • How tall is a doorway?
  • How high is a single floor of a building compared to the player character?
  • How far can a character jump? How high can a character jump?
  • What are different attack radii for melee attacks?
  • What is the damage that weapons can do at specific distances?
  • How wide is a the max/min/comfortable size of two walls for a wall jump?

Not only should you determine what all these elements are but you should also create prefabs/static meshes that allow you to create a level quickly. To start this process grab any grid-based software or paper. I typically use Illustrator because of the handy grid and snapping features.

For gameplay purposes, I typically create a series of playroom whiteboxes to help me test out different components and figure out how the mechanics of a character integrate into the world. These whiteboxes should iterate every variable possible so that you can create the appropriate measurements in your written documentation. For instance if you have a gun that can shoot through different materials, you should create a target range with all the available materials and thicknesses as an example.

For platforming in an editor like UDK, you should create a series of gaps in the floor that start small and scale linearly. You should also label these in-game with accurate measurements, for instance an 8 unit jump should be marked with a sign or perhaps a collider that pops up a message to the console. From there, you can figure out ideal jump lengths and also what jump lengths to avoid. Creating these playroom whiteboxes makes your job a million times easier later on (unless you change an aspect of a gameplay mechanic midway through development, then it can be disastrous).

Now that you’ve gotten these basic white boxes you need is the character measurement from your art team. Some studios have a standard height for their character (in a real unit of measure such as cm, or feet). For this example, we are going to assume that our character is six “units” of height in Illustrator which correlates to 6 feet in Maya. Draw a small figure that helps represent basic world scale.

The next step is to create your building blocks based on your character mechanics that you tested out in your playrooms. You want to do this on paper/Illustrator instead of creating them in the editor because inevitably someone is going to want a document based on your work. Working on paper is faster, but you can create extra layers in a tool like Illustrator. That gives you the power to place notes on enemy placement, notes for your producer, or any number of things.

I typically take as many mechanics as I can and create an easy, medium, hard, and hardest building block out of them. *NOTE* Make sure grid snapping is on. Once you are done with your gameplay prefabs create symbols, so it is easy to duplicate. You might also take the time to create symbols of all of your enemy characters, inter-actable objects, etc…

From here, you have all of your game building blocks to create level sketches quickly and without a lot of bug fixing/rework. Take these sketches and create an in-engine version of them. You want to double check that your sketches match the mechanics you’ve created.

Gameplay Flow (AKA Rhythm AKA Difficulty Curve)

Utilizing all your gameplay components and rotating them in and out reduces player fatigue. Player fatigue is when players get frustrated or bored with one type of gameplay (for instance combat) and are more likely to put down the controller and turn off the game. This happens in nearly every game to a certain extent, but it is avoidable if you have robust sets of gameplay components. You want to keep the gameplay varied and stimulating throughout the game. While this sounds obvious, I am sure you’ve played a game where this has happened to you.

For instance in Iron Man 2 we had several different gameplay components. We had A)Combat, B) Puzzles, and C) side scrolling shump-esque gameplay. Combat could be further broken down into 1) boss (challenge) battles, 2) land combat, and 3) air combat based on the composition of the enemies involved. We would constantly rotate in new components and challenges to insure the player was doing something different and then in later levels we’d throw them a curve ball by playing with gravity or the camera in some way.

There are two types of gameplay flow, macro and micro. Microflow refers to one section/level of a game. Now some open world games might make this a bit difficult to suss out but even those games typically have a ramping difficulty that starts with dumb skeletons that you can hack to pieces to higher level enemies that might require more knowledge of gameplay mechanics to defeat. Much like the brutes in Halo.

Within one level this flow is important but you also want to build upon the difficulty of these components. Macro-flow allow us as designers to create more complex levels later on that can continue to be challenging as the player groks easier mechanics. Typically a lead designer is in charge of creating a difficulty ramp that entry level designers then implement. This difficulty curve is based on the introduction of new gameplay and builds from previous levels. For instance

Skill Level 1 Level 2 Level 3 Level 4
Jump Jump small gaps Jump medium size gaps jump large gaps jump the maximum distance
Jump+Moving Jump while at a walk on stationary platforms jump on slow moving platforms jump on quick moving platforms above pits of death multiple jumps on platforms that move up/down and circular

Macro flow design needs to take a lot of different scenarios into account. You want to limit which techniques the level uses based on its overall position in a series of levels. Is it the last level? Is it the first? At the beginning of the game, you need to introduce each component one at a time in a semi safe environment.

Creating an entertaining and engaging flow is hard to master. You must take into account the current skill level of the player, the golden path gameplay objectives, and the overall skill level of the audience. Furthermore, you’re only going to get a rough approximation of your games difficulty until you start running usability studies.

Sometimes things can be devilishly hard on purpose, but other times your gameplay is going to be affected by little things. For instance in early builds players had a lot of trouble using the belly slide in Madagascar: Operation Penguin. We ended up introducing the mechanic sooner, and we made sure to continue using it throughout the game and created a specific visual feel to indicate where belly sliding was required. Alot of this is designer instinct.

Creating Teachable Moments

Every mechanic has a specific learning pattern that you should adopt. Many times, a talented designer will teach players about mechanics without them knowing that they were taught.

Step 1: Show how the mechanic works without any interfering systems in a safe environment. Players should not have the ability to bypass this step with other mechanics. Example: Double Jumping: To teach the player double jumping we need a platform that blocks the player from continuing until they double jump up on it. If you have a mechanic like wall running, you need to take that into account in order to create a custom scenario that makes wall running useless (preferably without disabling it for no reason).

Take Half Life 2, for example. The player comes across a crow that flies into a barnacle tongue (the enemies that hang from ceilings). The crow gets eaten, and the player learns “Those things hanging from the ceiling will grab things that touch its tongue”. This is an intentional learning moment.

Step 2: Introduce the mechanic with a small difficulty ramp but still in a safe environment. Using our Double Jump Example, perhaps a series of 4 platforms that all require double jump but the fourth one requires near-perfect timing while the first one is easy. Not only does this reinforce practice of the mechanic but it also shows a few different ways that the mechanic is useful to the player and in what scenarios they might see it.

Step 3: Have the player use the mechanic in a stressful or timed environment. For instance, perhaps a gorilla is hurling flaming barrels at the player down a hallway. The player must double jump (or get hit) in order to get past the barrels. This step is the first true implementation of the mechanic into the gameplay.

I’d like to point out that teaching mechanics don’t all have to come at the beginning of a level in the form of a heavy-handed tutorial. You should be constantly implementing new skills to master throughout the game and as the player is mastering one skill they might begin learning a new one.

Defining context: The player has multiple different skills and techniques available to them but providing contextual visuals can make it much easier for a player to make a decision on what the should do or could do in a situation. As you create your building blocks put some thought into how your art team is going to represent them in the game. If possible, you want to create a visual vocabulary that allows you to express specific techniques or skills a player is expected to use in any given situation.

For instance, many sidescrollers have a “leap of faith” in order to provide the player a sense of vertigo or simply get down from a high place if the designer couldn’t get them down any other way. You can indicate where these leaps of faith are and where it is safe to make them through consistent visual imagery. Assassins Creed does this with small wooden posts that always have birds sitting on them and a hay bail at the bottom. When a player is running away from enemies and needs to find a safe way off the rooftops while running full speed, these areas allow a player to make a snap decision without plummeting to their death (most of the time). They also did this with white cloth over boxes at ground level to indicate places where a player could climb to the rooftops.

Some ways to create context are

  • Using specific color while being conscious that some people may be color blind. Many games use lighting to help direct the player to the next room or obfuscate secret rooms that players only find by exploring.
  • Using a mechanic specific object like putting a cracked texture on a wall to indicate that it is breakable. This texture could be on wood, brick, or steel walls, and it would still communicate the function of that wall. Similar to hay bales.
  • Lighting conveys a great deal of information and is extremely useful in explaining to the player where they should go. If you’ve ever played modern sidescrollers, designers often hide collectables or special powerups down dark hallways, which is also a use of lighting.
  • Play sound effects or mute the music that indicate specific context. Horror games have this down exceptionally well. If you plan on including a sound effect that is mechanically significant *please* insure that your closed captioning system properly represents these sound effects. Some people are deaf or they simply don’t play with the sound on.

Develop Visual Architecture

In some companies, the level designer is also an environment artist while other companies a level designer simply creates whiteboxes and places pre-created assets into a scene. Although you might not be the person that creates the art in the scene, a level designer is still responsible for creating the basic architecture of each area.

As the level designer, your job is to create memorable terrain out of very repeated 3D assets. Alot of this can be done by planning ahead to create visual components that work well together and can be reused multiple times in different ways. The same way a player gets gameplay fatigue they also get visual fatigue when playing monotonous environments. I hate to pick on someone but Elder Scrolls: Oblivion was a good example of too much of the same thing in this regard.

You can create many different engrossing environments by varying visual components to provide a more dynamic experience. You can attain these effects in several different ways

  • The depth of a room behind the player. In a sidescroller example, you could have a cavernous warehouse that you can see far into the distance OR you could be against a wall. In both situations, the player has the same gameplay space, but you’ve created a different feel.
  • Varying indoor/outdoor areas. Are your players moving through a warehouse building? Perhaps they take a detour over the roof or along a catwalk on the outside or perhaps a massive tank shell destroyed part of a wall, and you can see out into the distance.
  • Lighting rooms in contrast to each other as well as having different times of day.
  • Create claustrophobic or “voyeuristic” areas by utilizing planned foreground elements with tighter level geometry.
  • Create “verticality” which is the sense of moving upward or downward. Many sidescrollers do a lot of side-to-side motion but completely forget going upwards.

Now that you have all these pieces it is is time to assemble a level.

Actually creating your levels. A step by step process

Throughout the game development process playtesting your work is extremely beneficial. I expect any good developer to play their own work and have others play their levels through every step of the following process. This allows the designer to iterate on their level.


I like to write down all of the level requirements based on the Gameplay Flow down into their own document while I plan out the level. This includes available AI, game mechanics, and assets, but typically a lead designer gives a lot of power over a level to the level designer in charge. In this case, I also take the time to plan out

  • “Look and Feel”: What kind of feelings does my level evoke from the player. Are they scared? Is this level supposed to feel abandoned or under attack? Is it falling apart or is it a new construction? All of this informs the rest of your work. For instance if there is no power all the doors don’t work so you might need the player to smash their way through doorways.
  • Story: There are two kinds of story, the first is the basic verbal back and forth between characters. It is necessary to take a look at the script and copy in any big moments of exposition and plan for them. If you do it right, you can work some genuinely interesting cinematic scenes into your level. The other kind of story is the environmental storytelling. Based on your look and feel, if your level is an abandoned army base because it was invaded by aliens you can create deep stories just on what you plan on creating. Perhaps there are tools strewn all over the hangar bay or the player comes across the skeletons of an unlucky group that tried to barricade themselves in a room. All these story elements create a rich story.
  • Key Locations: Sometimes these key locations are mandated through your story but sometimes you can create them based on your own intuition. Typically these key locations are going to take some large custom assets or technical feat, so it is necessary to plan in advance for them. For instance in Half Life 2, the player comes across a vista right before they enter a cave. On that Vista, they get their first good look at District 17 and the combine tower. This is an extremely pivotal scene, and it conveys a lot of information to the player.
  • Wow Moments: These are when the player simply says “Wow” or has a visceral reaction to a scene. This could be a final kill animation, a large jump, or an enemy crashing through the rear wall. It is when a player is surprised, scared, awed, or affected by the game in a way that they weren’t expecting. Wow moments are like key locations but are generally more about scripted sequences. For instance in Call of Duty, the player is in a trench when two tanks roar overhead. The first time I played that it took my breath away. Those moments need a lot of planning and typically a lot of unique assets to pull off, so planning for them early is essential.

The Sketch

Remember all those gameplay building blocks we created? Now it is time to use them. Using a 2D package sketch out your level. Like every good story, a level needs a beginning, middle, and end. This is also the point where you determine all of your gameplay objectives that keep the player moving throughout the game, hidden collectables, etc… Good objectives need some specific information.

  • The objectives from a mechanical point of view. Kill 5 of X in rooms A/B/C
  • How the objective is communicated to the player. How does the text read to a player? Are there any icons or arrows on the screen?

This is also a good time to sketch out The Golden Path. Golden Path is a term for the shortest distance between the beginning and end of the level while completing all objectives so that the player can move to the next level. If you want the player to backtrack a lot, for instance in a Metroid style game, then you can quickly ensure that the player actually does a lot of back and forth. Shadow Complex has an impressive sketch that started on paper.

The Asset List

OK so this is probably the most tedious part of any game development process but unless you are creating everything on your own you need to create an asset list. This list probably includes

  • Sound Effects
  • Visual Effects
  • Textures
  • Models
  • Special Code like custom AI behaviors
  • Music


Now that you’ve created all of your sketches and documentation you’re ready to implement your level with basic collision. Almost none of this is going to end up in the game but slap down all of your terrain with a basic texture on it. This allows you to run around your level and make sure that the in-game feel is what you want. It also lets you test out any issues you might have.

For instance, you might have made some platforms to far away from each other based on the in-game camera. Working these problems out early is much better than rejiggering artwork and scripting later. It’s also important for you to block out what kind of environments you are planning. As I mentioned before you should figure out if this is an inside or outside area, how much depth a scene has, and what kind of effects you are going for.

Scripting Part 1

Now that you’ve created all your rooms you’ve got to get all of your level elements working. This includes getting all of the moving platforms moving, ladders with their appropriate climb volumes, and begin blocking in enemies so that they spawn in the correct rooms. If you don’t do this now, you might not discover critical bugs like enemy pathfinding around specific objects or that your moving platforms need to be tweaked. After this step, you should have a fully functional level that anyone can play from beginning to end.

Testing: Ideally you level is now ready to be played by the rest of your team. Now is the time to do a thorough review of your gameplay and get any feedback based on level design and usability tests.

Art implementation: Eventually artists are going to give you lots of intriguing art assets to play with, but they typically hate re-doing their work. That is why up until this point we haven’t implemented any art assets. You should implement textures and critical objects into the scene to ensure that nothing looks “placeholder”. Also, a good tip to making entertaining areas is to create “outside” areas within a level that the player can see but not touch. For instance, a bathroom with a door haphazardly bolted onto the frame gives players a tantalizing view of a horde of zombies inside but thankfully not dangerous.

Lighting Pass

Now that you’ve got your basic art assets in the time comes to light your scene. Most designers forget this step and get confused about why their scenes don’t look as dramatic as they could. When focusing on lighting you need to keep in mind where the light is coming from, what is casting a shadow on what, and where your enemies are going to be. Unless it is your intent to make it impossible to see the baddies coming at you, lighting your rooms poorly could result in unacceptable gameplay.

One terrific game that takes advantage of lighting is Deus Ex: Human Revolution. When you play through, notice how certain side hallways or secondary paths have lights, or enemies tend to patrol only where the majority of lights are.

Another important issue about lighting is that guiding the player to vital areas like buttons or the next room. This lets you stealthily guide the player forward without being heavy handed like the old Golden Axe games with a blaring arrow.


Most games have some sort of scripted events that don’t directly affect the player’s gameplay experience. Sometimes these are rendered cutscenes done in Maya or perhaps in a comic strip form. In that case, you don’t have to do too much, but “in-game” cinematics are exceedingly common. This might include a hulking plane flying overhead or a battle between two AI opponents duking it out in the background. Now is the time to create these cinematic moments to make your level come alive.

In Iron Man 2, we took advantage of a exceptionally basic camera system. Not only did we do full fledged in-game cutscenes but we also used the camera in more subtle ways. For instance, when the player is flying the camera will zoom out and lead the player more than if they were standing still. When Idling, the camera would actually zoom in tight onto the player.


You thought there wasn’t anything left to do? Well it is time to tighten those graphics. You’ve got a lot of the big effects in, but there are a lot of small things that can add depth to the scene. This often takes form as visual effects and sound. For instance creating little willowisps that float in a dark area, or a chain that rattles as water splashes down it (think Alien). These little touches are hardly noticeable most of the time but create a much stronger experience.

In Wolverine, one of the levels was held in a Mutant prison. We added small particle effects like fluttering pieces of paper, sparks, and smoke to create a haphazard environment.

Well there you have it, you now have one fully created level. There is a good reason why games take so long to develop since any given AAA style title has hundreds of developers working on it for years.

Narrative Document

So often times communicating HOW a player is going to feel can be difficult. One way to describe this is writing a narrative document. This is something that is just a first person account in a section of gameplay. It might have a few images but getting across the gist of how the game is going to be over time is the most important part to address. Especially when you need to sum up all the moving parts. Here’s an example.


Milestones: One Sheet

A  “one sheet” (which typically is more than one page) helps you determine whats unique about your game and provides a good overview.  You might create a dozen of these when pitching projects to a publisher and they typically don’t take too long to create.

When you are working on an internal/indie project this document comes out in the form of the game overview or something you might put on kickstarter. The purpose is to succinctly say why your game is different from others. What is your hook? The point here is not to get into the nitty-gritty but to capture the gestalt of the project. Here’s an example.


Tutorial: Intro to Tilesets

A tileset is a series of small images (tiles) that can be re-arranged, stacked, and adjusted to make a really big world with only a few images. We want to do this because images tend to increase file size and if you had a choice, would you rather paint 10tiles that are 64×64? Or draw a totally unique background at 8192×8192.
 Also in the case of iPhones or GBAs, you are going to want to use 1 really big image (a 512×512 made up of small tiles) instead of many tiny files. More on that later.
*note* in this tut, I am only going to be going over the technical part of making tiles, but these are not artistically sound. You will have to deliver texture, shadowing, and contour all by yourself.
So in order to make a tile, first we set our tile size. You want to make your tile size in binary since most tools are going to want a square of some sort. In this case 64×64 but you can use 8×8, 32×32, etc…
So now we have our tile size. Lets create a brick type tile.
 Then stack several of them together so they are “tiled”.
Notice how our horizontal line flows together but our vertical line is broken up and doesn’t meet with the others? This is usually undesirable because we want all the tiles to run together seamlessly. So lets fix that with a tile that is going to meet at the edges and look OK.
The tileThe stack
See how much better that is? All the lines run together and you probably could draw those in for ever. Let’s put a cat infront of that wall so that we have a character reference. I am also going to add in a floor to force perspective so that our cat can sit on something.
Ok so now we can make floors, walls, etc… but it kinda looks weird not to have any shadowing in our scene. Because without it everything looks, well, flat. so we are going to create some shadows. To do this, we need two things. Transparency in the file, and “layers”.
Transparency: So now we need to talk about filetype. The file format you are used to is probably .JPG unfortunately .JPG doesn’t allow for transparency. So when we save out our file, we are going to use .PNG files. When you export or “save as” an image there is an option to save PNGs with or without transparency in most photo editing software like Photoshop.
Layers: Layers are typically in most tile editing systems now-days. They give an artist or designer the ability to put some things in-front of the player character, and some things behind. Think about it like working in photoshop, each layer can be positioned differently on the image.
So now, lets add some shadows to our scene and also add a decorative object to the back wall. For the shadow I am just using the gradient tool going from black to transparent. If this were in an engine, these tiles would be in a different layer but could be within the same tileset image.
Notice how the shield is really wide? That is because it takes up 2 tiles within the tile set, so when I place down the tile, it is the left hand side and the right hand side of the shield.
Finally, lets add a final “parallaxing” foreground. a parallax layer is typically a background or foreground layer that moves slower than the scrolling room. Obviously we aren’t moving in but you can look online for multiple examples of parallax. Since this is an interior room I am going to just do a foreground element.
OK! So this is starting to get pretty complex and interesting. Lets take a look at what the “tilesheet” looks like. If you recall from the beginning, we are programattically pulling a single image and replicating it multiple times. On most handheld devices, the best way to do this is to create a single image with lots of little tiles inside it. A Tilesheet! Lets look at what our scene tilesheet lookslike.
Our tileset is only half the size of our scene (I added red lines to show you where the 64×64 divisions are. And as you may have figured out, we can use these pieces over and over again in different combinations to create different scenes.
Hopefully now you have a clearer understanding on how to create a tileset.

Polished Deliveries – Best Practices

When you are designing your game and your game milestones, my favorite way to develop is by polishing each feature one by one. This part is tricky to do, especially if you don’t have a lot of history built up between you and your client. They could get very nervous. The number one type of question I’ve heard is along the lines of “Is it done yet?” or “Where is this feature?” Even though they’ve read the delivery sheet as many times as you have, they still start to ask for things that are miles away. The strategy you need to take is to develop one feature at a time and get it as close to Gold Quality as possible. Compare this with the other strategy, where you work on everything at once. If you’re getting ABCD features 10, 20, then 50% of the way to completion each milestone, it is going to be nerve wracking to your client because at the end of the day, they can’t show anything to their superiors and say “look how good this part of the game is! Can’t wait for the rest!” All your client will be able to say is “look how moderately functional this game is!”.

From an indie development standpoint, creating small complete systems as early as possible makes me very excited because I can see totally finished features that don’t crash and say “Yes this is what I want”. The Carbon Games people are rockstars at doing this.

Everything you put into the game should be the absolute best that you can do When you deliver high polish early on it shows what your team is capable of and it buys you a lot of good will. This means that even your most early deliveries should be polished to the absolute best, even if that means a little throwaway scripting or throwaway code. Take it into account when you do your scheduling and, although your programming team will gripe about how they were going to write it, it is going to turn out much better. Also, if you do one feature at a time, its going to be a much better representation of your schedule. If you’re doing the most important features first, and all of them are taking 1.25 times longer than you estimated, you can see which features are going to fall under the chopping block. If  you are working everything up at once, you are at risk of a really stressful crunch at the end of your project. Because you’ve put so much work into less important features, you’ll be more likely to want to keep them even if it means missing your mothers birthday (which she brings up EVERY time).

Gaming and Learning

I was really happy to see this Ted talk. I remember teaching my little brother how to read through Lunar: The Silver Star back when it was important to read the dialogue in games because it told you what to do.

Through my own development, I definitely see young men skipping through all the dialogue and it made me wonder what a fun game that taught literacy would look like.

Ali Carr-Chellman: Gaming to re-engage boys in learning

SpaceChem: A science based indie puzzler

Recently I have been working on a puzzle title called SpaceChem and we need your help. This game is really exciting to be a part of and we are very proud of how fun and interesting it is. So my request to the CA community is to do as many of these steps as you can. This game is definitely not for everyone, but its innovative title that a lot of people will have fun with.

What steps you can do to help
Step 1: Buy the game on our website
Step 2: Sign up for our facebook group
Step 3: Tell your friends about our game and let them decide if its for them.
Step 4: Play Space Chem and post your solutions to Youtube!
Step 5: Enjoy!

Thanks everyone, and I’d love to hear your feedback on the game, just email us at TheSpaceChemTeam@zachtronicsindustries.com

Ken Bowen | Reactor Technician | http://www.spacechemthegame.com/ | TheSpaceChemTeam@zachtronicsindustries.com

Feature Creep: Limbo – More evil children!

I thoroughly loved Limbo and what they did with the game. The presentation and ramp of mechanics is extremely beneficial to any game and Limbo presented an excellent representation.

Skill ramping was smooth throughout the game. The player was able to experiment with each new technique (jumping, switching gravity) with remarkably little danger. Limbo then began presenting the player with more dangerous and more complex systems that wove all the mechanics together.


Not only were the mechanics well-presented but the  wow moments are also memorable. The player was constantly surprised with traps and enemies that startled the player. All of these events were also designed to be after check points so that the player wasn’t punished for not “knowing” that the trap was there. Some might say this was a Bad Designer No Twinkie issue, presenting a way to fail through trial and error, but I saw it as a crafted experience that reinforced the premise of the world. Namely that danger lurked around every corner, and the life of the little boy was extremely fragile… and full of blood.

I have one Feature Creep for Limbo. If I was given the opportunity to go back and re-release the game I would add more “evil children” elements that we saw early on in the game. Those other boys made the world feel abundantly alive, but they seemed to disappear later on. They were utterly frightening, and when I first saw them I was thoroughly entertained; the children told a rich Robinson Crusoe-esque story without ever saying a word.

Once I got past the initial events, the world became a lot more dead and sterile. There were all these objects within the world, and occasionally a wasp or something, but there wasn’t any sign of habitation. Nothing in the latter part of the game seemed to live in the world, even though there were houses and switches and factories all ready for some characters.

Franchises: Know thine own

One of the first steps is to get into your franchise. If you are new to a company or have been assigned a franchise that you may not be familiar with, start visiting by reading/watching/listening to your material. If you can’t tell me the 378th Rule of Acquisition, then you clearly don’t have what it takes to make a Ferengie stock market trading game. The reason for this is that your franchise probably has some *serious* fans, and if you can’t love your game topic you certainly won’t be able to come up with a game that serves the core audience. Not only do you need to have intimate knowledge of every character and setting, but find something to love about your franchises, some can be more difficult than others to love, I know! But if you look you’d be surprised what you can find within your content. For instance, for those of you who don’t watch Sponge Bob Square Pants, it is really hard to see why you’d want to. It’s a kids title right? Just some stupid over popular cartoon? If you took some time to get to know the show like some of us have, you’d see that there is a lot of innuendo and commentary that makes Sponge Bob really enjoyable, regardless of its targeted age range.